Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from El Salvador and from Beijing.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1961 to 1972.
I'm losing my edge.
To all the kids in Woodstock and Edmonton.
I'm losing my edge to the art-school Philadelphia kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1973 at the first Television practice in a loft in New York.
I was working on the snare sounds with much patience.
I was there when Captain Beefheart started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Black Flag to the crunk kids.
I played it at the Troubador.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by The Move. All the underground hits.
All Robert Görl tracks. I heard you have a vinyl of every Crash Course in Science record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Byrd record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arab on Radar,
Bill Wells,
Buzzcocks,
Thompson Twins,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Moss Icon,
Arcadia,
Scratch Acid,
OOIOO,
Cluster,
Joyce Sims,
The Fall,
The Divine Comedy,
Oblivians,
Rites of Spring,
Ronnie Foster,
Hoover,
Moebius,
The Doors,
Pole,
Supertramp,
The Gap Band,
Kauko Röyhkä ja Narttu,
Alphaville,
Unrelated Segments,
Radiohead,
Dennis Brown,
Joensuu 1685,
The Young Rascals,
The Alarm Clocks,
Stockholm Monsters,
Rosa Yemen,
Henry Cow,
The Techniques,
Bobby Hutcherson,
Blancmange,
John Holt,
Throbbing Gristle,
Pere Ubu,
Flash Fearless,
The West Coast Pop Art Experimental Band,
Maleditus Sound,
Kayak,
FM Einheit,
Cybotron,
Jimmy McGriff,
Liaisons Dangereuses,
Avey Tare & Kría Brekkan,
Maurizio,
Qualms,
Cameo,
Hot Snakes,
Sun Ra,
Simply Red,
Sandy B,
The Gories,
Swans,
Bobbi Humphrey,
The Cosmic Jokers,
Cecil Taylor, Cecil Taylor, Cecil Taylor, Cecil Taylor.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.